Voting

Lobby for a new "Federal Art Project" like the Great Depression-era Works Progress Administration. The New Deal program was funded under the Emergency Relief Appropriation Act of 1935.
Jackson Pollock got his start under that program.
"One particular success was the Milwaukee Handicraft Project, which started in 1935 as an experiment that employed 900 people who were classified as unemployable due to their age or disability.[1]:164
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Voting

We need to change our perception of the labor market value of skills gained through study of Fine Arts and Humanities.
With tuition costs so high, can we blame college students (or their parents) for choosing the more lucrative majors in Science, Technology, Engineering, and Mathematics (STEM) disciplines?
Can something be done concurrent with a Program for Disabled Artists to fix the problem with tuition debt and high
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Voting

A cottage industry program modeled after the historical Penland School (1920s and 1930s) and using an approach similar to that of Heifer International's "values-based, holistic and community development approach" can promote occupation in arts and crafts, improve self-sufficiency, and enhance quality of life for disabled participants and the community at large.
A cottage industry program designed to encourage occupation
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Voting

Improve how the other laws that protect individuals with disabilities from discrimination in employment (in the Arts) are enforced, too.
Make sure the benefits from Federally funded programs for occupations in the arts by disabled people remain beneficial and provide equal opportunity to the disabled persons employed first. Make sure programs (those running them) commit the necessary resources to ensure equal access
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Voting

Would a Special Needs (Pooled) Trust be one way to protect public benefits a disabled person gets when they want to participate in a program? This is in answer to the problem with disabled artists losing benefits they rely on if they generate income or have assets over a certain limit.
Money/Income produced from sale of art by an artist might be used to fund the Trust.
I'm imaging this solution as more applicable in
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Voting

Make sure eligibility for participation if based on disability is only as rigorous as that required for Temporary or Permanent Disabled Parking Placard or something similar.
Do not restrict participation by disabled persons to criteria of severe, long-term, total disability such as that of Social Security Administration's definition.
Reason I say this is that the disability criteria and adjudication process by which SSA
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In addition, please share your ideas and comments for the following: resources that assist people with disabilities in overcoming barriers and challenges and provide career preparation and opportunities in the arts field, effective tools or resources for networking and job searching, and resources for educators to supplement their existing curricula in arts education programs to include disability arts representation and narratives.

Within your particular artistic discipline, please share your ideas for what resources or programs assist in addressing discipline-specific barriers or challenges, and what progress has been made in regards to artists, and/or cultural workers with disabilities. Are there resources in your specific artistic community that address the current discourse around disability? What organizations, opportunities, venues/spaces, and individuals working on disability issues within your specific artistic field should we know about? Please share resources that offer strategies for arts organizations and disability organizations to more effectively work together to improve employment outcomes for people with disabilities in the arts.

Please share your ideas for resources or strategies for the following:

Guidance in considering and addressing disability/identity disclosure while working in the arts.

Assistance for employers, employees, and arts venue staff in a workspace/art space with access and inclusion.

Support or mentorship for disabled artists and cultural workers from additionally marginalized communities including communities of color, those for whom English is a second language, and those who are LGBTQ trans*.

Dialogue 1

What are some of the strategies used by people with disabilities seeking employment or self-employment in the arts? What are the barriers and challenges, and what ideas do you have for how the arts field can help provide career preparation and opportunity? These ideas can include your experiences with accommodations and accessibility, as well as how people with disabilities can work in the arts and have access to healthcare and other benefits.

When you are ready to share your ideas click the Submit New Idea Button on the right to join the conversation!

What ideas do you have for the arts field (arts organizations, arts service organizations, arts agencies, and arts funders) and the arts education field (schools, community arts education, conservatories, and universities) to ensure full inclusion for youth and adults seeking training in the arts field?

When you are ready to share your ideas click the Submit New Idea Button on the right to join the conversation!

What ideas do you have concerning disability disclosure while working in the arts? Has it helped or hindered your work? How can representation of disability and authenticity affect the employment outcomes for people with disabilities in the arts?

When you are ready to share your ideas click the Submit New Idea Button on the right to join the conversation!

What ideas do you have within your particular art form or your particular disability community? For example, what new opportunities have emerged for Deaf theater artists, for physically-integrated dance, or for filmmakers with disabilities, and how did they come about? What ideas do you have for how arts and disability organizations can work better together to increase opportunities?

When you are ready to share your ideas click the Submit New Idea Button on the right to join the conversation!